Articles/Writing

(issue 13)
Irish films for the most part are terrible: bad acting, bad scripts, clichéd
storylines, stereotypical characterisation, bad Irish accents (both city
and country), unoriginal, lack of continuity and realism in the use of places
and locations, commercial, obsessed with certain themes that get endlessly
repeated (father-son relationships, catholic guilt, search for Irish identity,
potatoes and Irish-American clichés etc.). On the other hand some
new Irish films try to avoid Irishisms and instead pander to established
Hollywood conventions and genre films (eg: gangster, romantic-comedy, road
movie). So it’s a bit of a conundrum. Yet on the other hand there
are some gems of Irish films that unfortunately are little seen or known
of.
Some basic background:
Before the 1970’s films made in Ireland were American or British productions
such as The Quiet Man (1952), during the 70’s however indigenous Irish
film production began to take hold as an increasing number of Irish art
students began to make short films, older generation documentarists and
former RTÉ personnel began to make films independently. This group
banding together as the Association of Independent Producers began to lobby
the government to help fund film production, after various Arts Council
grants awarded, in 1980 the government finally set up the Film Board specifically
to fund indigenous production. The first film funded was Neil Jordan’s
Angel (1982), launching the career of one of Ireland’s most successful
contemporary filmmakers. Other films funded are considered experimental
and avant-garde and although critically acclaimed did not fair well at the
box office. In 1987 with the country in a period of economic gloom, the
Fianna Fail government closed the Film Board feeling that it was not becoming
self-funding as had been the intention, casting the independent film sector
into despair. A new government in 1992 and Micheal D.Higgins as Minister
for Arts, Culture and Gaeltacht led to the reinstatement of the Film Board
as Bord Scannán na hÉireann, which is the main source of funding
for indigenous film production ever since. There has been a significant
shift though in the type of films made by the ‘Board, while the earlier
films were experimental and questioning of Irish society and culture; with
the newer Board there has been a decided shift towards more commercial film-making,
the international market and genre films. That said in comparing the Boards’
it must be taken into account the two very different periods of time, the
greater amount of films made by the new Board, the pool of people who are
making the films, and that the Irish film industry is still relatively young.
My own major issues with Irish films are there unquestioning espousement
of consumerism, commerciality and the like. This is most evident in what
is known as the “cappuccino” or “Celtic Tiger” films
such as When Brendan Met Trudy (1999), About Adam (1999), Goldfish Memory
(2002) and The Trouble With Sex (2004). There is also something very basic
going wrong with film production in this country as regards the quality
of scripts, unoriginality, acting and all those things I mentioned in the
first paragraph. Also why is there no avant-garde/experimental film-making
or what is really needed some well thought out critiques and statements
on Irish society. Of course there’s another issue as regards distribution
of films, and people actually getting to see them…
Any would be film-makers out there: start thinking, do your homework, get
your shit together; hopefully there’ll be more good films to look
forward to.

Anyway, rant aside here’s the

Poitín (1978, dir: Bob Quinn) (Ás
Gaelige). The first Irish independent film, this tells the story of a Poitín
maker in Connemara, West Ireland; and two conniving chancers who try to
rob his wears. Rather than the idyllic clichés of The Quiet Man (et
al) this shows the West and rural life in a harsh, realist light. With almost
documentary style camera shots and movement, there’s a great car chase
through some quiet stonewall adorned country laneways. You’ll get
a bit of a shock at the ending as well. Check out all films directed by
Bob Quinn.

Maeve (1981, dir: Pat Murphy/John Davies).
The first film by Irish feminist director Pat Murphy uses a complex narrative
structure influenced by the counter-cinema practices of the 1970’s
avant-garde. Maeve returns to her home Belfast, having been living in London
and tries to come to terms with her family and the republican community
she grew up with. Operating as a sort of visual essay the film uses this
back drop, to explore debates between nationalism and feminism (that nationalism
and violence are essentially male struggles…), the privileging of
male and patriarchal discourses to those of the female, the female nude
as male sexual voyeurism, etc. Great and very interesting film.

Pigs (1984, dir: Cathal Black). Set in
the grim depression era of 80’s Dublin, when dole queues, unemployment
and recession were all the go. This tells the story of Jimmy who sets up
a squatted house in an abandoned house in Central Dublin, to be joined by
an unlikely group of outsiders and social misfits. For awhile the group
take on the metaphor of an alternative family-type nucleus until the harsh
realities of a bigoted society and repressive state intervene. Excellent
and very strong statement on Dublin/Irish life at that time.

How To Cheat In The Leaving Certificate
(1997, dir: Graham Jones). Great satire on the Leaving Certificate and Irish
education system (especially if you didn’t enjoy the experience) in
which a group of people hatch a plan to break into the central Dept. of
Education warehouse in Athlone and rob the exam papers. With very funny
cameo appearances by some well know Irish faces (Chris de Burgh as a gas
station attendant, Biddy as career guidance counsellor), this film is spot
on!

Adam & Paul (2004, dir: Lenny Abrahamson).
Most promising Irish film in years; this follows two Dublin junkies who
have fallen by the wayside of the Celtic Tiger, in a day in the life trek
through town on the search for a score to fend off the dreaded junk sickness.
It holds a fine line between sentiment and preaching, manages to avoid demonising,
glorifying and pity, but yet captures the hopelessness of it all, leaving
the viewer fairly stunned by the end. Sidesteps the usual Hollywood plot
structure-clichés by focusing more on the spoken-syntax of the duo.
Great digital camera-work as well.

Check out: The Irish Film and Televsion Network for Irish
filmography and more at www.iftn.ie; and Bord Scannán na hÉireann/the
Irish Film Board at www.filmboard.ie for more info on making films in Ireland,
funding and all the like.